Orual's Till We Have Faces

The black veil represents, covering the face in shame. Reverend Hooper enters the church with a black veil over his face, causing quite a disturbance among his congregation. He preached a sermon on secret sin and what we hide from those closest to us. The Reverend Clark tries to talk Hooper, on his deathbed, to take the veil off. He claimed it was a sign of his sadness and refused. The phrase “He has changed himself into something awful, only by hiding his face” (338). The Reverend Hooper points out on his deathbed that the only difference between himself and the people is that they conceal their sins.

Once the mask was removed, their journey to see what was underneath it was not what they had expected to see. Instead of being happy by their accomplishment they were instead beginning to feel sick.

The first person narrative in the ancient kingdom of Glome, a land ruled by a tyrannical king and religious goddess Ungit. Narrated by Princess (later Queen) Orual. The first section of this novel presents itself as an open complaint against the gods, particularly the god of the Grey Mountain, who brought Orual such pain and distress over the years, yet offer no answers or explanations to justify the suffering.

As the proverb goes, beauty is in the eye of the beholder. Beauty, as we know it, is subjective to each individual. However, some individuals are primed to perceive beauty as deriving from physique, clothing, and accessories; neglecting more important traits such as honesty and kind-heartedness. Aaron Shephard portrays in his short story, “The Hidden One: A Native American Legend”, that neglecting such traits results in failure. Any woman who makes deceitful attempts at proving they’re capable of seeing the Great Hunter is cast away. Little Scarface’s unpleasant older sister would “hold[] her down and burn[] her arms and face with sticks from the fire” (Shepard 1) and lie to their father about it. She claimed to see the Hunter and lied about that as well. The mistreated little girl is stripped of having appealing clothing and, what some may consider, a beautiful face; yet, only with her pure soul intact, she ultimately succeeds. The image of beauty the author is attempting to paint for you is that physical appearance only gets you to the door; the Hidden One, symbolized as the prize, is obtained with a “good heart”, free from “jealous[y] and cruel[ty]”.

It’s quite common for an individual to undergo an internal and external battle within ones self. Outwardly, many people plaster on a facade to conceal an unpleasant or discreditable reality, while inevitably suppressing those feelings inwardly. In the novel, Their Eyes Were Watching God, Zora Neale Hurston uses symbolism and metaphors to convey the complexity of Janie’s experience.

On the very first page of Their Eyes Were Watching God, the contrast is made between men and women, thus initiating Janie's search for her own dreams and foreshadowing the "female quest" theme of the rest of the novel. "Detailing her quest for self-discovery and

In the novel Their Eyes Were Watching God, by Zora Neale Hurston a young girl named Janie begins her life unknown to herself. She searches for the horizon as it illustrates the distance one must travel in order to distinguish between illusion and reality, dream and truth, role and self? (Hemenway 75). She is unaware of life?s two most precious gifts: love and the truth. Janie is raised by her suppressive grandmother who diminishes her view of life. Janie?s quest for true identity emerges from her paths in life and ultimatly ends when her mind is freed from mistaken reality.

He would never be able to see the entire picture of the world as the others in his class and in his life see it. This veil served as a film over his vision and in a way, it acted as a prison which he could never escape. Perhaps the thought of being in the veil prison could continue back into history when his ancestors were slaves in their own prison. This veil not only symbolized his own imprisonment, but also how the general population saw him. They never saw the whole picture, for they only saw the outside and never took the time to lift the veil and understand what lay beneath. In both situations, there are no bars or brick walls to be found, rather a higher power accounted for their solitude.

They also seek to show how this facade separates and alienates you from society, peers, reality, and spirituality. " 'Have patience with me, Elizabeth!' cried he, passionately. 'Do not desert me, though this veil must be between us here on earth. Be mine, and hereafter there shall be no veil over my face, no darkness between our souls! It is but a mortal veil--it is not for eternity! O! You know not how lonely I am, and how frightened, to be alone behind my black veil. Do not leave me in this miserable obscurity forever!' 'Lift the veil but once, and look me in the face,' said she.'Never! It cannot be!' replied Mr. Hooper." " 'Tremble also at each other! Have men avoided me, and women shown no pity, and children screamed and fled, only for my black veil? What, but the mystery which it obscurely typifies, has made this piece of crape so awful? When the friend shows his inmost heart to his friend; the lover to his best beloved; when man does not vainly shrink from the eye of his Creator, loathsomely treasuring up the secret of his sin; then deem me a monster, for the symbol beneath which I have lived, and die! I look around me, and, lo! On every visage a Black Veil!' "

“The Minister’s Black Veil” seems like a moral allegory. Not just the veil but the act of wearing it is important. The veil also alienates the parson from people.

When the narrator first encounters the girl, his friend's older sister, he can only see her silhouette in the “light from the half-opened door”. This is the beginning of his infatuation with the girl. After his discovery, he is plagued by thoughts of the girl which make his daily obligations seem like “ugly, monotonous, child's play”. He has become blinded by the light. The narrator not only fails to learn the name of his “girl”, he does not realize that his infatuation with a woman considerably older than himself is not appropriate. He relishes in his infatuation, feeling “thankful [he] could see so little” while he thinks of the distant “lamp or lighted window” that represents his girl. The narrator is engulfed by the false light that is his futile love.

Greek mythology dates back to over two thousand years ago when Rome was a powerful nation. Classical literature has retold the famous stories of Greek gods, heroes, villains, and monsters over and over. A great book written by C.S. Lewis, Till We Have Faces, retells the story of Orual, and Cupid’s love for her sister, Psyche. However, even though Orual and Psyche are sisters, there are many differences between them. First, Orual was selfish and unknowingly jealous of her sister.

His “unlined” face has yet to have the heat of a forge baking the sweat off his face and cracking the skin transitioning him into a man. A man that needs to learn the craft of forgetting the burdens everyday life gives him. The line, “eyes amber as the resin from trees too young to be cut.”(ll 10-11). reinforces that he has to grow and be ‘seasoned’ before he is truly ready to make the transition and tackle the craft of drinking until numb. These lines like an artist waiting to sculpt their stone into something else. The reference of the eyes gives a relation to the difference of her father’s young and hopeful eyes that have not seen what her grandfathers have. This is important as it gives the wisdom and long struggle that separates the apprentice from the master. Eyes have also been described as windows to the soul and the way she relates her father’s eyes as young and translucent that have yet to meet the destructive force that well in her grandfather’s eyes.

The veil covers people’s ability to see the whole idea of something, and according to Miranda’s mother, the veil blurs the world. People are not able to see the world clearly. Ms. Sinclair said that when someone’s veil is lifted for a moment of time, they are exposed to the grand scheme of things. They see things how they really are, not just a blurry picture. Ms. Sinclair said people are happy not to see the big picture because of the intensity of it. These big pictures show how cruel the real world truly is. This metaphor is displayed in various ways throughout the novel to convey a significant theme.

In the graphic novel, the veil represents religion and restriction. In 1979, bilingual schools were shut down, and by law, students were forced to wear a veil. This created conflict between Marji’s inner self, forcing her to choose between two beliefs. The veil acted as a symbol of the cultural revolution, and it affected her everyday schooling.